With this cornerstone of the double bass repertoire we continue a still young but important part of our catalogue. This musically-charming work, full of technical trickery, is with justification demanded time and again as a test piece or set piece for competitions. In order to accommodate the “Viennese tuning” used at the time, we also provide a solo part in fret notation. The piano part in D major and E major (!) can be used to accompany the doublebass part either in its solo or orchestral version. As an alternative to the familiar cadenzas by Sperger, editor Tobias Glöckler has added two further tuneful and stylistically-appropriate cadenzas of his own.﻿

Reviews

I want to congratuate you for your excellent cadenza for the Dittersdorf concerto. I grew up with the old edition and had to alter the cadenza or help my students compose their own.
Your cadenza is truly stylish, organic and challenging. I very much like the D minor bit which reminded me of C.Ph.E. Bach and papa Haydn. Keep up the good work.
[Bertram Turetzky in a letter to the editor, 2013]

The excellent editing is more transparent than that of previous editions .… Moreover, this edition allows several performance options due to the two piano parts (in D and E) and the four bass parts. … The piano reduction … is more successful than that of the Yorke and Hofmeister editions, including readily manageable page turns and Henle’s usual high standards of accuracy and clarity.[American String Teacher, 2007]

This edition is a gem. It is to be valued for the attention to detail, the wealth of historical knowledge, and the information on performance practice and Viennese tuning. Congratulations to Mr. Glöckler and G. Henle Verlag. One hopes that we see many more high quality, scholarly editions from them.[Bass World, 2007]

… in working from the oldest available source material, and in championing the historic Viennese tuning, editor Tobias Glöckler has sought to make good the errors and misconceptions present in many existing editions, and provides a compelling reason for seeking out the peg winder and miscellaneous old strings. … Glöckler’s comprehensive edition allows for four different performance options … Learning the system from scratch is rendered unnecessary thanks to Glöckler’s fingering notation, which indicates pitches as though for a fourths-tuned bass. This provides quick and easy access to the tuning but makes it essential to follow Glöckler’s string and fingering choices. In addition to his meticulous scholarship, Glöckler presents two sparkling new cadenzas, stylistically appropriate, splendidly virtuosic, and tweaked to fit the different tunings.[Double Bassist, 2006]